This section will be available this Autumn.
Mearini Fine Art
Presbytery fence pillar with ribbon, interlacing relief and recesses for pluteo on the sides White marble Central Italy (Lazio or Umbria), late 8th-early 9th century H 46 x W 27 x D 16 cm Expertise by Professor Guido Tigler Provenance: private collection, Italy Comparative literature: M. Salmi, la Basilica di San Salvatore di Spoleto, Firenze 1951, p. 37, tavv. XXIIId; L. Pani Ermini, (la Diocesi di Roma: La quarta regione Ecclesiastica (Corpus della scultura alto medievale, VII, 1), Spoleto 1974. pp.91-92 cat. 40); R. Krautheimer, S. Corbett, W. Frankl, Corpus Basilicarum Christianarum Romae. The Early Christian Basilicas of Rome (IV-IX century), Città del Vaticano 1959, p. 91 fig. 86
Douwes Fine Art b.v.
kees van dongen
Kees van Dongen (Rotterdam 1877-1968 Monte Carlo) Baigneuse à Trouville, circa 1925 Oil on canvas 53.3 x 32.8 cm - framed: 79 x 57 cm Signed lower right 'van Dongen' This work will be included in the forthcoming van Dongen digital catalogue raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. Provenance: Madame Van der Velde, Le Havre (by 1928); Pierre Samuel and Emma Célina (born Bayeux) Van der Velde, Le Havre; Jeanne (born Van der Velde) Réquin, Le Havre (acquired by descent circa 1952); Jeanne (born Van der Velde) and Edouard Réquin, Le Havre (acquired circa 1952 and until 1970); (possibly) Galerie Beaux Arts, Paris; Espace Pierre Cardin, Paris, April 4th, 1973, lot 16; (possibly) Collection Lieury, Le Havre; Alain Lesieutre, Paris (acquired by 1983 and until at least 1992); De Quay-Lombrail, Paris, June 22nd, 1995, lot 68; Michelle Rosenfeld Gallery, New York (acquired circa 1999); Kunsthandel Frans Jacobs, Amsterdam; acquired from the above in 2000 by the former owner; Sotheby’s London; private collection, The Netherlands Literature: Yvonne Brunhammer, Art Deco Style, Paris, 1983, n° 86, p. 48, ill. in a photograph; Béatrice de Rochebouet, Vente de la collection Lesieutre: Fin d'un règne, Le Figaro, October 2nd, 1992, n.n., n.p., ill. (titled ‘Femme au bord de la mer’); Christel Aaftink, 'Kees van Dongen', In Detail: periodieke uitgave van Kunsthandel Frans Jacobs, February 2000, n° 10, p. 7, ill. in colour
Galerie BG Arts
jean dunand
Jean Dunand (Switzerland, Lancy 1877-1942 Paris, France) Screen 'Swans and Water Lilies', circa 1932 Four-panel screen with black, ivory and gold lacquer H 180 x W 304 cm Provenance: collection M. B.-Paris; private collection, Paris; Galerie BG Arts, Paris Literature: Félix Marcilhac, Jean Dunand, Vie et Œuvre, Les Éditions de l’Amateur, Paris, 1991, p. 215 (ref. 121) Exhibition: Galerie Georges Petit, Paris, December 1932 Certificat d'Amélie Marcilhac
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Galerie Nicolas Bourriaud
Céline Lepage (Warsaw 1882-1928 Paris) Femme de Marrakech, circa 1920 Bronze with double shaded brown-green and medal patina H 80.5 x W 22 x D 22 cm Weight 12.7 kg Signed 'Céline Lepage' Sand casting probably made by the Rudier foundry. Publisher's stamp 'La Stèle', the artist's stamp with number 6 Literature: Paul Camille Lepage, 'Les conceptions artistiques de Céline Lepage', L’Art et les artistes, March 1933, model repr. p. 185
Giammarco Cappuzzo Fine Art
Ottavio Vannini (Florence, 1585-1644) Susanna and the Elders, circa 1615-1620 Oil on canvas 135 x 170 cm Provenance: private collection, Italy Literature: G. Papi, A New 'Susanna' by Ottavio Vannini, Paragone, 805 (3rd series, 132), 2017, pp. 30-33, col. pl. 34 Ottavio Vannini was born in Florence in 1585, as recorded in the city’s Baptismal Registers. According to the two scholars Dr. Gianni Papi and Dr. Filippo Gheri, this painting represents an important addition to Vannini’s catalogue, due to its brilliant pictorial quality and its embodiment of the painter's interests and ideas. The current work serves as a milestone for understanding Vannini’s Roman period, showcasing the impact that classicist artistic culture had on him after the second decade of the seventeenth century
Kunsthaus Kende
Yoshiko Okamoto (Japan, Yamaguchi 1976) Hagiawase jardinière, 2014 Silver, copper, shakudo, shibuichi H 11.4 x W 26.8 x D 8.4 cm A navette-shaped form, with the wall subtly tapering towards the ends and the base sloping upwards, analogous to the ends. The upper rim terminates in a square moulding. The body is adorned with an abstract frieze of foliage in alternating colours at alternating heights, which is subdivided by a subtle linear decoration. The pattern has been obtained using the traditional Japanese hagiawase technique. A masterfully crafted jardinière or flower planter of outstanding quality, brilliant finesse and unobtrusive elegance. The Japanese artist-silversmith and designer Yoshiko Okamoto (born in 1976 in Yamaguchi) began his career as an illustrator in Yamaguchi Prefecture, her favourite themes being the four seasons and depictions of the beauty of Japanese nature. She took part in arts and crafts courses under the guidance of the metal artist and living national treasure Akira Yamamoto (also from Yamaguchi Prefecture) while still at school, which awakened her interest in traditional Japanese metalworking techniques. After leaving school, she became a master student of Yamamoto, learning the special techniques of hagiawase (hot soldering with metal forging) and kiribame-zogan (heat-welding of cut-out inlays). Her preferred subject has remained unchanged throughout her artistic career: the endless story of nature, woven from the four seasons, into which she incorporates her artistic perspectives, represented by masterful colour gradations of several layers of metal. The traditional Japanese forging technique known as hagiawase (Japanese for ‘brazing’) consists of joining together different types of metal sheets. This technique makes it possible to create metalwork with striped or patchwork patterns. After joining, the artist shapes the metal with a hammer. The work often consists of silver (white), different types of shibuichi (a copper-silver alloy that appears grey) and shakudo (a copper-gold alloy that appears black). The surface of shibuichi becomes light grey when silver is added, the addition of copper makes the colour appear progressively darker depending on the quantity, and the addition of gold makes it dark grey. These metal alloy plates are cut with a fine saw to produce the desired pattern. These plates are joined together with silver and then melted with a gas burner to bond the pieces together. Alternatively, hotter flames are used to bond the different metals together directly. Since it is not possible to produce the pattern exactly as designed each time, Yoshiko Okamoto performs this hagiawase process several times until she has produced the desired number of patterns. When the pattern plates are finished, she grinds the inside to smooth out the unevenness caused by the soldering. She then begins to mould the metal by driving it with a hammer. Once the basic shape has been created, the pattern of white dots is incorporated: for this purpose she drills holes with a drill of maximum 1 mm diameter, inserts a short-cut round wire made of pure silver into the hole and fixes the protruding part of the silver by hammering. The protruding part is then removed to make it level with the surface. This technique is known in Japanese as Kiribame-zogan. The surface is then hand-sanded using coarser abrasive media, the grain of which becomes progressively finer during the sanding process, ultimately resulting in a high lustre. Once all the sections have been completed, the inner surface of the piece is sanded again with coarse sandpaper and the edges of the individual parts are harmonised. The metal plates are then assembled to form the three-dimensional workpiece, fixed together with wire and the segments soldered together. Finally, the surface is preserved using the traditional Japanese patination technique Niiro.
Hoffmans Antiques
Pair of candelabras, 'Night & Day' Attributed to Pierre Philippe Thomire (Paris, 1751-1843) Patinated and ormolu bronze Paris, early 19th century H 100 cm The pair of candelabras, 'Night & Day', were made of patinated and ormolu bronze of outstanding quality after a design by C. Percier and P.F.L. Fontaine in the Recueil de Décorations Intérieures from 1801. This model, which is very unusual, was commissioned for Emperor Napoleon Bonaparte's decoration of the Elysée Palace in the early 19th century.
Objects With Narratives
vladimir slavov
Vladimir Slavov (Bulgaria, Sofia, 1980) Evolution Chandelier, 2023 The first composition from the Evolution series Three bronze strokes form an ensemble, creating a theatrical lighting experience Unique piece Provenance: the artist's studio, Belgium Exhibition: PAD London, 2024
Kunstconsult 20th century art I objects
barbara nanning
Barbara Nanning (The Hague, 1957) Ceramic sculpture 'Hydras' from the Botanica series, 1997 Stoneware with coating of sand and pigment Ø approx. 80 cm Unique piece Provenance: collection Snijder, Aerdenhout Literature: Thimo te Duits, Barbara Nanning_evolution, Publisher nanning, 2004, p. 63 and p. 133
Artimo Fine Arts
albéric collin
Albéric Collin (Antwerp, 1886-1962) Elephant of the Indies Bronze, reddish-brown patina with golden undertones H 37.5 x W 36.5 x D 18 cm Model created in 1924, lost-wax, signed 'Alberic Collin' and stamped in the wax 'Claude Valsuani foundry' in Paris Provenance: Van Weert family for three generations; acquired by Mrs. Magier in 2001
Victor Werner
raymond de meester de betzenbroeck
Raymond de Meester de Betzenbroeck (Mechelen 1904-1995 Woluwe-Saint-Lambert) Poodle 'Zazou', first half of the 20th century Bronze with brown patina H 44 x L 50 x D 16 cm Signed 'Raymond de Meester' Mentored by Albéric Collin, Raymond de Meester studied animals at Antwerp Zoo and gained recognition with his first exhibition at the age of 22. In 1930, he achieved further visibility with commissions for the International Exhibition in Antwerp, creating major works like a 14-metre elephant scene. He exhibited globally, and his iconic pieces include a monumental polar bear and the 'Roaring Lion' for the 1958 Brussels World's Fair. Awarded the title of baron in 1952, he remained actively involved in the artistic community and continued to receive international accolades throughout his career.
Galerie de la Présidence
geer van velde
Geer van Velde (Netherlands, Lisse 1898-1977 Cachan, France) Composition-L'atelier, circa 1953 Oil on canvas 100 x 100 cm Signed lower right with the initials 'GvV' Signed on the reverse 'G. van Velde' Certificate of authenticity by Pierre François Moget This work will be included in the catalogue raisonné of Geer van Velde Painted Work currently in preparation by Pierre François Moget. Provenance: private collection, France
Epoque Fine Jewels
chaumet
a magnificent art deco diamond tiara by chaumet.
This tiara was made in Paris in 1909 as a wedding tiara for the daughter of Count and Countess de Heeren. Chaumet retains all the original drawings, as well as the nickel silver model created as a preliminary design for the final piece, which is preserved in the Chaumet archives. The tiara features a series of rounded Greek motifs, set with 2096 diamonds, mounted in platinum and gold, showcasing the typical ‘mille-grain’ finish. Founded in 1780, Chaumet has designed over 2,000 unique tiaras. While most tiaras from that era adhered to the Garland style or traditional 19th-century floral and scroll motifs, this particular piece is an early example of the geometric aesthetics that would come to define the Art Deco period, which reached its zenith in the 1920s. The tiara was featured in the ‘Chaumet en Majesté’ exhibition at the Grimaldi Forum in Monaco in 2019, where the nickel silver model was also displayed. The tiara is currently housed in a special Chaumet case, created for the Monaco exhibition. Total diamond weight: 28,10 carats Collection Epoque Fine Jewels, Belgium.
Chambre professionnelle belge de la Librairie Ancienne et Moderne (CLAM)
Michel Leiris (Paris 1901-1990 Saint-Hilaire) and Francis Bacon (Dublin 1909-1992 Madrid) Miroir de la tauromachie Paris, Galerie Lelong, 1990 Folio, loose (as issued), original publisher’s wrappers and box 4 original colour lithographs by Francis Bacon, all signed in pencil by the artist Limited edition of 155 copies, all printed on vélin d'Arches Librairie Lardanchet, Antiquarian bookseller
DYS44 Lampronti Gallery
Giovanni Antonio Canal called Canaletto (Venice, 1697-1768) Capriccio of the Prisons of San Marco, circa 1744 Oil on canvas 105.5 x 127.5 cm Provenance: Venice, Palazzo Mangilli-Valmarana, commissioned by Joseph Consul Smith (circa 1674-1770); London, King George III, 1762; Dr. Grant David Yeats (1773–1836); London, Christie’s, 8 April 1815, lot 95; London, Christie’s, 13 January 1816, lot 57; London, the Earl of Annaly; Liverpool, John H. Paris, 15 & 17 Leece Street, early 20th century; Ireland, C.B. Ponsonby; New York, Koetser-Lilienfeld Galleries, 1948; Comte de Messay, London, Edward Speelman; London, Partridge Gallery, 1957; New York, Schaeffer Galleries, until 1964; Hans S. Schaeffer Literature: J. Smith, Manuscript Catalogue of his Paintings bought by George III (Windsor), among n° 85-97; 'Note apart', n° 9 'The Publick Prison at St. Mark's'; W.G. Constable, Canaletto, Oxford, 1962, I, pl. 68; II, p. 356, n° 374; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, London, 1964, p. 35, fig. XII; T.J. McCormick, 'The Canaletto Exhibition in Canada', The Burlington Magazine, CVII, No. 742, January 1965, p. 29, fig. 34; L. Puppi, L'opera completa del Canaletto, Milan, 1968, no. 227, repr.; F. Vivian, Il Console Smith mercante e collezionista, Vicenza, 1971, p. 197; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links, Oxford, 1976, I, pl. 68; II, pp. 382, n° 374, 433, under n° 451, and 439, under n° 460; W.L. Barcham, The Imaginary View Scenes of Antonio Canaletto, New York/London, 1977, pp. 157-158 and 161, fig. 153; O. Millar, catalogue of the exhibition Canaletto. Paintings & Drawings, The Queen's Gallery, London, 1980-1981, p. 68, note 1; J.G. Links, Canaletto. The Complete Paintings, London, 1981, n° 186, repr.; A. Corboz, Canaletto. Una Venezia immaginaria, Milan, 1985, I, p. 333, fig. 399; II, p. 604, n° p. 123, repr.; W.G. Constable, Canaletto, 2nd ed. revised by J.G. Links reissued with supplement and additional plates, Oxford, 1989, I, pp. lv-lvi, pl. 68; II, pp. 382, n° 374, 433, under n° 451, 439, under n° 460, and 737; M. Levey, The Later Italian Pictures in the Collection of Her Majesty the Queen, 2nd ed., Cambridge, 1991, p. 43, under n° 408, fig. 13; The Splendours of Venice. View paintings from the Eighteenth Century, exh. cat. ed. by. V. Rossi and A. Hilliam, Lampronti Gallery London, December 1st-24th, 2014, Rome 2014, cat. 1 pp. 6-9; C. Beddington in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 49 pp. 106-107 Exhibitions: Louisville, Kentucky, The J.B. Speed Art Museum, Eighteenth Century Venetian Painting, 1948; Toronto, Art Gallery of Toronto, 17 October-15 November 1964; Ottawa, National Gallery of Canada, Canaletto, 4 December 1964-10 January 1965; Montreal, Museum of Fine Arts, Canaletto, 29 January-28 February 1965; Da Artemisia a Hackert. La collezione di un antiquario, Reggia di Caserta, 16 September-16 January 2020 Giovanni Antonio Canal, known as Canaletto, was born in 1697 and became a renowned Italian painter celebrated for his stunning depictions of Venetian landscapes and cityscapes. He gained popularity for his vedute - detailed and picturesque representations of city views - and capricci - imaginative architectural compositions that blended reality with fantasy. His work particularly resonated with British aristocrats on their grand tours of Venice. This extraordinary capriccio features the Public Prisons of San Marco, one of the most prominent structures on the Venetian Molo, adjacent to the Doge's Palace and connected by the iconic Bridge of Sighs. This painting has the most distinguished provenance a painting by Canaletto can have. It was painted for the artist's great patron and agent Joseph Consul Smith, being part of a series of thirteen canvases, presumably intended as overdoors to decorate the Palazzo Mangilli-Valmarana, Smith's house on the Grand Canal just above the Rialto Bridge. In 1762, Smith sold the cream of his collection to King George III of England, including this painting.
Hoffmans Antiques
Pair of Gustavian armchairs Ephraim Ståhl (Sweden, 1768-1820) Parcel gilt and bronzed wood Stockholm, circa 1810 H 85 x W 63 x D 50 cm Each armchair has a scrolled back and armrests decorated with carved laurels. The side rails are adorned with griffin heads and a palmette frieze; the fluted, tapered front legs with leaf-tip carvings. The sabre-shaped back legs end in lion's paw feet. The pair of armchairs is attributed to Ephraim Ståhl and made around 1805. Ephraim Ståhl a renowned Swedish craftsman who was a prominent furniture maker from the late 18th century to the early 19th century. Known for the high quality of his work and as well his bold, innovative designs. Ståhl became a favorite of the Swedish Royal family, with his pieces featured in nearly every royal castle. This model however featuring griffins beneath the armrests, is one of Ståhl’s more unusual designs, rarely seen on the open market. It was likely a special commission, possibly by Duke Karl, the brother of Gustav III, who had a particular fondness for the griffin motif, incorporating it throughout the interiors of Rosersberg Castle.
Galerie Lowet de Wotrenge
Frans Francken I or Frans Francken the Elder (Antwerp, 1542-1616) The Amazons fighting at Troy, circa 1600 Oil on copper 34 x 41.5 cm With thanks to Dr. Ursula Häerting for confirming the attribution to Frans I Francken and for providing a written certificate Provenance: sale, Christie's London, 13 March 1987, lot 31; private collection, Mallorca Frans I 'the Elder' Francken was born in Herentals in 1542. His father, Nicolaas Francken, was an obscure painter whose oeuvre remains unknown, but can be seen as the founding father of one of the most important dynasties of artists in the Southern Netherlands. Both Frans and his siblings Ambrosius and Hieronymus - who were to become painters as well - were first taught by their father. Karel van Mander mentions in his Schilder-boeck that Frans was later a pupil of the leading Antwerp Romanist painter Frans Floris. He became a member of the Antwerp guild of St Luke in 1567, and served several times as its dean. Frans Francken married Elisabeth Mertens; the couple had many children, of whom six were still alive at the time of his death in 1616: Thomas, Frans ('the Younger'), Hieronymus, Ambrosius, Magdalena and Elisabeth. The four sons all became painters and received their initial training from their father, who also taught several other pupils, such as Gortzius Geldorp. Much like his teacher Frans Floris, Frans Francken was one of the principal painters in Antwerp in the initial decades of the Counter-Reformation, working on many altar pieces which were commissioned to replace the ones that had been destroyed by the iconoclasm of the Calvinists. For these projects he regularly collaborated with his brothers; for example, for an Adoration of the Magi triptych (Brussels, Royal Museums of Fine Arts of Belgium and London, Brompton Oratory), which bears his monogram as well as that of his brother Hieronymus (along with both brothers' portraits in profile, which they impishly included in the wings of the tryptich). Stylistically, Frans' early work was clearly indebted to Frans Floris; later on he developed his own, more classicising style, although he remained first and foremost a mannerist painter. He seems to have been skilled at portraiture, too. Besides large-scale pictures, he also produced small-size cabinet pictures, often painted on copper - a genre in which his son Frans II would excel. The present work is a beautiful example of such production, and a valuable addition to the small body of work that can be attributed to him in this genre, as has been confirmed by Dr. Ursula Härting in a written certificate dated October 4th, 2023. She dates the present work to around 1600, or possibly a bit earlier. This small oil on copper depicts the Amazons fighting in front of the city of Troy, which can be seen in the background. According to Homer's Iliad, the Amazon queen Penthesilea had led her troops to Troy in support of King Priam in his fight against the Greeks. The queen, who can be seen in the foreground spearing a hapless Greek, was a fearless warrior who could best any man (according to one version of the story, she even killed Achilles, who was however subsequently brought back to life by Zeus). Ultimately, however, Penthesilea was slain by Achilles, who - according to some authors - fell deeply in love with her at the very moment of her death.
Sylvia Kovacek – Vienna
gustav klimt
Gustav Klimt (Baumgarten 1862-1918 Vienna) Standing nude, hands on the hips, 1911 Pencil on paper 57.1 x 37.5 cm Provenance: private collection, USA, courtesy Serge Sabarsky Gallery, New York; private collection, Japan; 110. auction Klipstein und Kornfeld, Bern 1963, n° 536 (pl. 69); private collection Hikonobu Ise, Japan Literature: The Ise Collection, Ise Lifedesign House, Japan 1984, ill. n° 12; Alice Strobl, Gustav Klimt. Die Zeichnungen 1904-1912, vol. II, Salzburg 1982, catalogue raisonné n° 2023, p. 252f
Galerie de la Présidence
albert marquet
Albert Marquet (Bordeaux 1875-1947 Paris) Stockholm, Strandvägen ciel clair, 1938 Oil on panel 33.2 x 41.2 cm Signed lower left This work will be included in the Marquet digital catalogue raisonné, in preparation by the Wildenstein Plattner Institute Provenance: Albert Marquet collection, Paris; on consignment with Gösta Olson, Svensk-Franska Konstgalleriet, Stockholm; returned to Albert Marquet, Paris June 21, 1938; Madame Albert Marquet collection, Paris, by descent from above, (1947); Alex Maguy collection, Galerie de l’Elysée, Paris; sale Sotheby’s & Co, London, March 31, 1965, n° 110; private collection, Switzerland Exhibition: Utställning Albert Marquet, Svensk-Franska Konstgalleriet, Stockholm, April-May 1938, n° 38, p. 11
HELENE BAILLY Paris-Genève
pierre-auguste renoir
Pierre-Auguste Renoir (Limoges 1841-1919 Cagnes-sur-Mer) Vase de roses, 1909-1910 Oil on canvas 55.5 x 46 cm Signed middle left 'Renoir' This work will be included in the Pierre-Auguste Renoir digital catalogue which is being prepared by the Wildenstein Plattner Insitute, Inc. Notice of inclusion dated February 29th, 2024 Provenance: Friedrich and Barbara Thurneyssen, Munich, acquired from the artist (from 1911); Rudolf von Simolin, Bavaria; private collection Literature: Ingrid Mössinger and Karen Sanger, Pierre-Auguste Renoir: Wie Seide Gemalt/L'Effet de la Soie, cat. ex. (Chemnitz: Kunstsammlungen Chemnitz, 2011) (ill. fig. 2, p. 111, installation view, Le salon de la famille Thurneyssen at Franz-Joseph-Strasse 36 in Munich. Undated photo showing Renoir's painting Alexandre Thurneyssen, 1911, near the door) Exhibitions: Berlin, Galerie Alfred Flechtheim, Pierre-Auguste Renoir: Peintures provenant des possessions de ses fils et ses sculptures, November 20th-December 22nd, 1927, n° 37 (titled Roses, dated 1914)
